Immoral Tales and The Beast (Walerian Borowczyk) from Arrow - September 2015

[MifuneFan]

The Beast

SPECIAL EDITION CONTENTS:
-New high definition digital transfer of the uncut 98-minute version
-Uncompressed Mono 2.0 PCM Audio
-Optional English subtitles
-Introduction by film critic Peter Bradshaw
-The Making of The Beast: camera operator Noël Véry provides a commentary on footage shot during the film’s production
-Frenzy of Ecstasy, a visual essay on the evolution of Borowczyk’s beast and the sequel that never was, Motherhood
-The Profligate Door, a documentary about Borowczyk’s sound sculptures featuring curator Maurice Corbet
-Boro Brunch, a reunion meal recorded in February 2014 reuniting members of Borowczyk’s crew
-Commercials by Borowczyk: Holy Smoke (1963), The Museum (1964) and Tom Thumb (1966)
-Gunpoint, a documentary short by Peter Graham produced and edited by Borowczyk (11:04)
-Behind Enemy Lines - The Making of Gunpoint (5:16)
-Theatrical trailer
-Reversible sleeve featuring Borowczyk’s own original poster design
-Illustrated booklet featuring new writing on the film by Daniel Bird and an archive piece by David Thompson, illustrated with original stills

Immoral Tales

SPECIAL EDITION CONTENTS
- New high definition digital transfers of two versions of the feature, the familiar four-part edition and the original five-part conception including the short film The Beast of Gévaudan (which later became the feature The Beast)
- Uncompressed Mono 2.0 PCM Audio
- Optional English subtitles
- Introduction by Borowczyk expert Daniel Bird
- Love Reveals Itself, a new interview programme featuring production manager Dominique Duvergé-Ségrétin and cinematographer Noël Véry
- Obscure Pleasures: A Portrait of Walerian Borowczyk, a newly-edited archival interview in which the filmmaker discusses painting, cinema and sex
- Blow Ups, a visual essay by Daniel Bird about Borowczyk’s works on paper
- Theatrical trailer
- Reversible sleeve featuring Borowczyk’s own original poster design
- Illustrated booklet containing new writing on the film by by Daniel Bird and an archive piece by Philip Strick